Leigh Tarentino class critique

Courses

The following courses are being held in the Granoff Center during the Spring 2017 semester:

Advanced Screenwriting (Laura Colella, Literary Arts)
This course focuses on the writing of short screenplays or a longer work in progress in regular installments, along with a body of exercises, workshop conversations and conferences.

Affective Machinery (Sydney Skybetter, TAPS)
This course examines the relationship of technological innovation and Western choreographic practice from the 17th century to present. By tracing the creative application of specific technologies (beginning with the proscenium stage, gas light, photograph, television, and film, and concluding with emergent media phenomena, such as motion capture, virtual reality, kinesthetic algorithms and gestural interfaces) by such artists as Loie Fuller, George Balanchine, Anne Teresa De Keersmaeker, and Beyonce?, students explore the contrapuntal interplay between artistic practice, performative technology and contemporary culture.

Artists and Scientists as Partners (Julie Strandberg, Theatre Arts and Performance Studies)
This course focuses on the application of current research in neuroscience, education, narrative medicine, and best practices in the arts for persons with neurological disorders. Through site placements, students will provide arts experiences (primarily dance and music) for persons with Parkinson’s Disease (PD) and Autism Spectrum Disorders (ASD).

Choose Your Own Adventure (Andrew Colarusso, Literary Arts)
How do the design elements of a novel resemble the design elements of a game? And to what extent have interactive [video] games been designed with novelistic conceits? The adventure begins here, starting with what lies at the dark heart of the literary adventure genre (Defoe, Conrad, Behn). Students will sojourn at contemporary indie video games (Undertale, Walking Dead, Broken Age, Gone Home), along the way analyzing how “choice” is utilized to build reciprocal fictions. Students will also undertake semester-long projects, creating their own “Choose Your Own Adventures.”

Designing and Playing Alternative Controllers (Paul Lehrman, Music)
This seminar will explore the science and aesthetics of designing alternate controllers for musical performance. Topics will include basic electronics and hardware prototyping, instrument construction, theories of gesture, human-computer interface issues, and the challenges of mapping sensor data to meaningful musical parameters.

Design of Robotic Systems (Iris Bahar, Kenneth Breuer, Engineering)
Designing kinetic systems (i.e., systems that require movement or motion) relies on both mechanical and electrical engineering. These systems include everything from mobile robots used for rescue operation to electrically powered moving sculptures. Through a series of projects, students combine their knowledge of electronic circuit design, sensors, actuators, motors, microcontrollers, and programming to build interactive art and robotic vehicles. Projects culminate in the design of a kinetic system that groups enter into a class-wide competition.

Digital Non-Fiction (Michael Stewart, English)
Digital Nonfiction is an opportunity to explore the fundamental differences between print and digital narratives. Focusing on three short assignments and one longer project, this class encourages students to learn by doing. In addition, students develop their digital fluency by exploring a variety of platforms and readings.

Feminist Aesthetics (Ioana Jucan, TAPS)
A theoretical and practical investigation of art and performance from feminist and performance philosophical perspectives, focusing on the topics of perception, experience, thinking, embodiment, and the practice of everyday life. The course will introduce students to theories and methods from feminist aesthetics and the emerging field of performance philosophy. Students will study feminist critiques of aesthetic categories (Battersby, Cixous, Grosz, Korsmeyer, Piper, Scheman, Ziarek) and feminist practices of art and performance, combining theoretical work with practical explorations in the studio.

Generative Sound Systems (Caroline Park, Music)
A critical production course on algorithmic and generative methods for creation of sound art installations and experimental music performances. Students are exposed to generative works by diverse artists in experimental electronic music, sound art, and sound design. Using Max/MSP, students will create unique real-time systems exploring randomness and data flow in art contexts through brief coding assignments. The course culminates in a public final showing of new sound art installations and live performances.

MEME Ensemble: Tactile Media Workshop (Asha Tamirisa, Music)
In this workshop, students engage in critical and experimental approaches to hardware technologies associated with sound and image production. Focus will be placed on the technology often thought of as “behind” our media, its history, mechanics, and how we might engage with it expressively. Technologies covered include standard microphones, contact mics, speakers, transducers, tape reels, cassette tape, turntables, handmade 16mm film and manual projection techniques. Students will gain hands-on experience in how to build compositions, installations, and performance systems with these tools and with each other. Concepts in improvisation, collaboration, attentive listening, and audiovisual composition will be covered.
 
Recording Studio as Compositional Tool (Jim Moses, Music)
A study of advanced studio techniques taught in parallel with topics in psychoacoustics. Students will create original studio work while developing listening and technical skills for audio production. Topics include recording, signal processing and mixing software, microphone technique and live sound engineering.

Stage Lighting II (Tim Hett, TAPS)
This course focuses on the implementation of lighting techniques learned in the introductory course. Emphasizes work in a studio environment with other theater designers, implementing CAD and vector works techniques as well as scale models. The course culminates in a full lighting design for a production.

Writing 3D (John Cayley, Literary Arts)
An advanced experimental workshop for writing in immersive 3D, introducing text, sound, spatial poetics and narrative movement into Brown's Legacy Cave (housed in the Granoff Center) with links to the YURT (Yurt Ultimate Reality Theater in the Center for Computation and Visualization). An easy-to-learn and easy-to-use application allows non-programmers to create projects on laptops and then to run them in immersive 3D audiovisuality without the necessity for specialist support. Broadly interdisciplinary, the course encourages collaboration between students with different skills in different media, who work together to discover a literary aesthetic in artificially rendered space.

For further information about available art courses at Brown, please refer to the six arts academic departments:

Granoff Center

Brown University
154 Angell Street, Providence, RI
401-863-1934
artsinitiative@brown.edu

Mailing Address

Brown University
Campus Box 1987
Providence, RI, 02912
USA

Sign Up

Instagram